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A CHANCE AT MID 
NIGHT 

A Dramatic Episode in One Act 



By CHARLES STUART \r^-^- 
\\ 
Author of "Dolly's Double," "John's Emmy," etc. 



A 



Copyright, 1912, by Dick & Fitzgerald 



NEW YORK 
DICK & FITZGERALD 

18 ANN STREET 






TMP92-007559 



OLD 30401 



Note. — The professional acting rights of this sketch 
are expressly reserved by the publishers, to whom theatri- 
cal managers who wish to produce it should apply. Ama- 
teur representation may be made without such application 
and without charge. 

A 
CHANCE AT MIDNIGHT 



CHARACTERS 

Burglar 

Scoundrel 

Woman 

Child 

Time of Representation. — Twenty-five minutes. 



COSTUMES AND CHARACTERISTICS 

The Burglar. — Age about 35. Stout, sallow complex- 
ion, close cut hair, slightly gray. Rough, cheap, dark 
clothes; soft felt hat. 

The Scoundrel. — Age about 30. Slim, dark com- 
plexion, black moustache, gray hair at temples. Full 
evening dress, opera coat with cape, hat, and gloves. 

The Woman. — Age about 35. Slim, youthful appear- 
ance, light complexion. Full evening dress, light lace 
shawl over shoulders at first entrance. 

The Child. — Age 3 to 5. Small, with long blonde 
curls; night gown or pajamas. 



INCIDENTAL PROPERTIES 

Pistol and dark lantern for Burglar. Package of let- 
ters for Scoundrel. Leather wallet and bundle of papers 



4 A Chance at Midnight 

in safe, also jewel case. Decanter, handkerchief and cur- 
tain cord. 

STAGE DIRECTIONS 

As seen by a performer on the stage facing the audience, 
R., means right hand; l., left hand; c, the center of stage. 
Down, means towards front of stage and up, towards rear. 



A 
CHANCE AT MIDNIGHT 



Scene. — Library of a mansion at Irvington-on-the-Hudson 
at midnight. Practical French window in back. Door 
L. DOWN stage. Door with curtains r. up stage. Open 
fire-place r. down stage with table and two chairs in 
front. Safe against wall l. up stage with chair in front 
of it. Decanter on table. Distant sound of church clock 
striking 12 — slight pause — then the gleam of a dark 
lantern is seen on the outside of French window, then 
slight scraping noise, and windows are gently forced 
open. ENTER Burglar who leaves the window par- 
tially open, allowing a ray of moonlight to light up the 
room, lets the rays of his dark lantern flash about the 
room. 

Burglar. Hum, this sure is a snug crib. Didn't think 
I'd find anything so easy as this so near my recent home a 
few miles up the river. {Gazes all about the room, locating 
doors, etc. Goes to d. l.) That leads to the hall O. K. 
{Goes to T>. R.) And that to the parlor; good. {Goes down 
stage to fire-place) That fire looks good. {Sets lantern on 
table) Feels good too. It's no joke laying out there in the 
wet grass waiting for the swell guys to get through feeding 
their faces and chewing the rag. {Discovers decanter on 
table) Well, see who is here — a little drop of this will be 
good for what ails me. {Helps himself to drink and sits 
before fire) My late residence was never like this. {Drinks) 
Yum, yum, that's good booze. These rich blokes cer- 
tainly know what's what — but Dick, my boy, you have 
got work to do, so get on the job. {Takes up lantern, makes 
another trip about and discovers safe) Ah, there you are, 
eh, well, I'll soon have you open, my beauty. {Kneels 



6 A Chance at Midnight 

before safe, tries it, doors swing open) Well, I'll be d ' 

that was easy — maybe there is nothing in it though. 
{Examines the inside) Gee, nothing but a lot of kin- 
dlings for the fire. (Brings out a lot of papers, then tries 
again) Now what is this — looks like a jewel case — {Goes 
Down to table with case in hand, opens it, then long low 
whistle) diamonds, a whole bunch of them. Dick, old pal, 
you are sure in soft. What a cinch this has been — me 
for a quick get away — these will hold me for a while — 
no need to look further. {Closes case and puts it in pocket) 
'Now for a trip to New York, soak the swag — then a new 
outfit, kicks, lid and all — then to hit the high places — the 
lobster palaces and white lights of dear old Broadway. 
{Replaces papers in safe and locks it. Starts for window, 

then suddenly) D it, there is someone out there and they 

are coming in. {Looks hurriedly about, closes lanterny 
draws pistol and darts behind curtains over d. r.) 

ENTER Scoundrel, from window. 

Scoundrel. She at least kept her word in regard to 
leaving the window open. {Goes to table, removing gloves, 
helps himself to a drink) I wonder where the charming 
Mrs. Wallace is? Hope she don't keep me waiting long. 
It would be rather difficult to explain my presence here 
at this time of night. 

ENTER Woman, d. l. closes door, stands leaning against 
it. 

Scoundrel. So, you are here, eh? 

Woman. Yes, have you got the letters? 

Scoundrel {draws package of letters from pocket. She 
reaches for them). Not quite so fast, we'll exchange, 
there is a little matter of $5,000. 

Woman. I haven't got it, and can't get it. 

Scoundrel. Is that so? Well, that is your affair, 
not mine. I never do anything for anybody for nothing. 
I've told you my terms; if you can't meet them, I'll seek 
a market for my wares elsewhere. 



A Chance at Midnight ? 

Woman. But I've told you I haven't got that amount 
of money or anywhere near that amount, and can't raise it. 

Scoundrel. Indeed, how about the famous Wallace 
diamonds? They are worth at least that amount, unless 
reports lie. I'll take them instead of the cash. 

Woman. No, no, that is impossible. They were his 
mother's and besides, he would suspect. 

Scoundrel. Better to be suspected of being a thief 
than known as an adventuress. 

Woman. You cur! 

Scoundrel. We will not call each other names, my 
dear. It is a case of the kettle calling the pot black, and 
we gain nothing by it. I will have the money or the jewels 
now, or by morning you will be hunting another home, 
my^ fine lady. 

Woman. Heaven help me! What shall I do! {Goes 
to safe and tries to open it. Scoundrel follows and stands 
close behind her. She is still trying to open the safe) It — 
it's locked! 

Scoundrel. Indeed! Did you expect to find it other- 
wise? 

Woman. I left it unlocked. 

Scoundrel. Then unlock it again. 

Woman. I can't, I do not know the combination. 

Scoundrel. How the devil did you open it before? 

Woman. My husband opened it to get the jewels. I 
wore them to-night and put them back only an hour ago. 

Scoundrel. Hell — I don't believe you. You are lying, 
you women are all liars, or crooked. You never meant 
to give them up. 

Woman. I did, I swear I did. I'd do anything to get 
rid of you for once and all. 

Scoundrel. Well, you know what it means to you. 
Either I get the money or the jewels to-night, or the Hon. 
Hugh Wallace will learn in the morning that he has married 
a woman with a past. 

Woman. Oh give me just a little time. I'll pay you 
your price. The jewels are in there, I put them there, 
but it's locked. 

Scoundrel. I won't give you another d day. I 



S A Chance at Midnight 

don't believe your story, it's a — a fake — a ruse to gain 

time. {Goes to safe, tries it) D you, you have been 

playing with me. I want those stones or the money now 
{Goes up to her) Do you understand? Now! 

Woman {gets between him and the safe, facing him, his 
hack to D. L.). Wait, wait, wait, you have got to give me 
time. I can't imagine how the safe got locked again. 

Scoundrel. I won't wait. I'll go to him at once. 
{Starts toward d. L.) 

Woman {grabs him by the arm and turns him around so 
he stands with his back toward d. r.). No, no, you must, 
you have got to give me time. {Suddenly) Someone must 
have come in after I put the diamonds away. {Stares at 
him ijitently) It was you — you were here when I came in — 
you took the diamonds and locked the safe again. 

Scoundrel {tries to shake her off). Cut that out, you 
fool, I only just got here. 

Woman (backs him towards door). You are the liar, 
you are the thief! Give me those letters, they are mine 
now, you have paid yourself for them. 

Scoundrel. You are crazy! Let go — donH wake up 
the whole house. 

Woman {still holds on to him and tries to get the letters 
from his pocket) . I won't let go. Give me those letters. 

Scoundrel {steps back, still trying to shake her grip off, 
raises his hand as though to strike her). Be quiet, you little 
fool. I haven't got the diamxonds and you can't have the 
letters. 

Burglar (behind curtain, reaches out and strikes the 
Scoundrel with his pistol, the latter staggers around and 
falls full le7igth in front of chair in front of safe. He gags 
him with his handerkchief and ties his hands with a curtain 
cord. The Woman goes to chair r. of table and sits with 
head on arms on table). There, I guess that crack on the 
noodle will hold him for a while. {Turns Scoundrel over 
and takes letters from his pocket and puts them in his own. 
The Woman rushes to the Scoundrel also and tries to get 
the letters. Burglar pushes her aside) Not so fast, they 
seem to be worth a good deal to him and they are worth 
as much to me. 



A Chance at Midnight 9 

Woman. You took the diamonds. 

Burglar. Sure thing, I need them to go to a reception. 

Woman. But you will give me the letters? 

Burglar. Not so you can notice it. They look like 
easy money to me. (Woman sinks in chair r. of table. 
Burglar starts toward window. Door knob rattles at r. d. 
Draws pistol and drops behind chair in fro7it of safe ready 
to shoot. The Child ENTERS d. r. rubbing his eyes and 
goes to the Woman who takes him up and fondles him) 
Gee, a kid, and I came near plugging it with this. {Goes 
^0 Woman) Is it yours? {Woman nods her head) How old? 

Woman. Five. 

Burglar. How in did you get mixed up with 

that dog? (Woman shakes her head sadly) Won't tell, eh? 
Well, all right, I am going now, but before I go I am going 
to call the police, then skidoo before the cyclone strikes 
us and let him get pinched for this trick. {Starts toward 
window) 

Woman {rises, puts child in chair l. of table). One 
minute — do you war on women too? 

Burglar. I am from Missouri, you can't steer me with 
your soft talk. I don't know anything about any war, 
but I've got to look out for myself and I mean to get even 
with that snake first. 

Woman. You know him? 

Burglar. Know him? Well, I should say I did. The 
coward, liar, blackmailer, procurer, didn't he put me away 
with his lies — didn't he steal the girl away from me. 

Woman. Were you married? 

Burglar. Sure I was — and honest and happy, until 
he came around and filled her head full of stuff. I caught 
him at it and beat him up — then he put up a job on me 
and had me pinched, and with his lies had me railroaded 
up the river for five years. She is dead now. He deserted 
her after I was put away, she died like a dog from starva- 
tion and I couldn't help her, and he wouldn't, but d 

him, I'll be even with him now. 

Woman. And how about me? 

Burglar. Oh I guess you are no good„or you wouldn't 
be thick with a mut like him. 



10 A Chance at Midnight 

Woman. Can't you understand what those letters mean 
to me — he has kept them hanging over my head for years. 

Burglar. What are they? 

Woman. Letters I wrote him when I thought he was 
worth while, when he lied and promised. 

Burglar. Since you have been married? 

Woman. No, before. When I was young and foolish 
and believed men were not wolves. When I thought 
there was good in the world and believed there was a 
chance for a woman whose foot had slipped — once. 

Burglar (dramatically) . Chance ! H — '■ — , there ain't no 
chance in this world. There is guys that preaches it, but 
they ain't got it right, there ain't no such thing. A guy 
that goes wrong has no more show of a chance to do better 
than a Chinaman has of being President. He has just 
got to go on getting worse. If he gets a job the cop gets 
on to him and has him fired — drives him from his job — 
I guess it's the same with women. Neither of them has 
any more chance than a snowball in h . 

Woman. Then why do you take my little chance 
away from me — and him? (Points to the Child) Why 
drive us away from our jobs? 

Burglar. Does your boss know? 

Woman. If he knew, do you suppose I would have 
gone to such lengths to keep him (Points to Scoundrel) 
quiet? There has been harm enough done. Why should 
my husband be made to suffer too? 

Burglar. There is a h of a lot of us that way. What 

we don't know don't bother us. (Goes right and gazes 
into fire) How long has that sucker been bleeding you? 

Woman. For years. I've paid for his silence lately 
for the boy's sake. He has a right to his life without 
shouldering my mistakes. Think what it means to him. 

Burglar (stands at back of chair in which the Child is 
sitting). Are you on the level now? 

Woman. As God is my judge. 

Burglar. You ain't ne.er going to let that foot slip 
again? 

Woman. Never. 

Burglar. That is what they all say. But I guess 



A Chance at Midnight 11 

you and the kid will get your chance. {Takes letters from 
his pocket and drops them into the fire) 

Woman (looks at him a minute, then offers her hand). 
Thank you — ^you trusted me. (Sits K. of table and buries 
her head in arms, crying) 

Burglar. Dat's all right, forget it. Cut out that 
soft stuff and don't turn on water works. Just keep them 
feet from slipping; stay on the level. It's the only thing 
that pays — there ain't nothing in that other stuff take it 
from me, and I ought to know. (Goes to chair l. of table) 
You don't know a thing about all this talk feast, do you 
kid, and it ain't right for you to know. All you got to know 
is that the little mother is the best ever and you stick to 
her, kid. Keep her from letting them feet slip, she is all 
right and so are you — and now we are going — me and that 
skunk over there. We are a swell pair, fine company for a 
little kid like you — ^me a burglar — and him — well he is 
everything from a lizard up. (Crosses to Scoundrel pulls 
him to his feet and sets him in chair in front of safe) We are 
through here, you and me. Your dinky little proofs are 
gone — ^you ain't never comin' back here to bother that 
kid's mother no more — me and you is going to a little 
squaring of accounts on the outside with these. (Holds 
up his fists) But I just got to tell you a few things right 
now. You are the limit, you are — I am rotten, but I 
don't class with you no how. I never stole no other man's 
wife and I never lied a man to jail, and thank God I never 
lived off the money I took from a woman. (Pulls him up 
from chair, unties his hands and gag) Come, get out of 
my sight before I spoil your face, you miserable little 
schrimp, you ten-cent chromo of a man. (Kicks him 
out of French window, then comes down stage to child in 
chair) Say kid, maybe somebody will stake me to a job. 
(Takes jewel case from his pocket and drops it in the child^s 
lap) and I am going to stake you. (Turns and EXITS, 
just before closing window.) Good-night. 

Woman. (Rises and takes Child in her arms and starts 
toward d. r.) 

SLOW CURTAIN 



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